In his work Les lieux des memoires, French historian Pierre Nora (1989) has suggested that history and memory have become antithetical and that their separation has necessitated the establishing of memory sites wherein a residual sense of continuity might remain. Nora proposes that these sites of memory are vestiges for the embodiment of a collective consciousness; that they are ruins, where memory takes root in the concrete – in the material, the symbolic, and the functional – and arms itself for the battle against time. My Everlasting exists in that space between history and memory – embodying it – moving among its shadows and wrestling with its ephemerality. The work was created as testament, as a kind of lieu de memoire for a nation of two, bound together against the ever-accelerating besiegement of history. As a memory that is ever slipping into the historical past, My Everlasting is a work to block the act of forgetting – one that might liberate the past from the endless loop of history’s rapid undoing.